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长达五十集的大型室内剧《渴望》终于和观众见面了。据说收视率很高,剧中的种种人和事已成为人们茶余饭后的话题。坦率地说,这早在意料之中——这么长的连续剧,要是对可视性没有足够的重视和把握,我是不敢动笔的。一、室内剧和可视性近来,文学界在讨论可读性,电影界在讨论娱乐片和上座率,电视界也终于提出了电视剧的可视性问题。这是件好事,它至少意味着我们终于明白,不管是写出来的还是拍出来的,总是要给人看,而且看的人越多越好。这些年,内地文艺界对港台的文化侵入始终抱着不屑一顾的态度,认定那是一片文化沙漠。但是文学的固定读者——众多的少男少女已经从对金庸、琼瑶的迷恋扩大到罗兰的散文和席慕蓉的诗。电
Up to fifty episodes of the large-scale in-game “longing” finally meet with the audience. It is said that the ratings are high, all the people and things in the play have become the topic of people’s gossips. To be frank, it was an early surprise - for such a long series, I would not dare to pens if there is not enough emphasis on visibility. I. In-room dramas and visibility Recently, literary circles are discussing readability, the film industry is discussing entertainment and attendance, and the television industry has finally raised the issue of the visibility of dramas. This is a good thing, at least that means we finally understand that no matter whether it is written or made, it is always to be seen, and the more people see, the better. In recent years, the mainland literary and art circles have always taken a dismissive attitude towards the cultural invasion of Hong Kong and Taiwan and decided that it is a cultural desert. However, the fixed readers of literature - many boys and girls have already expanded their obsession with Jin Yong and Qiong Yao to Roland’s prose and Xi Mu Rong’s poems. Electricity